The Viennese Waltz III
by Roy &
SPIN: Really a two-step spin that can be continued beyond the normal
three-beat counts and should develop at least a full turn. We will
describe the usual sequence from a starting position where the man is
facing DLC with a R foot lead.
man commences a RF turn and spin on the heel of the R with a forward
step down LOD and quickly rises to the ball of the foot. He allows
his L to move around the lady with very little floor pressure and
should end counts 1 & 2 facing RLOD. Ladies place their R between
the man's feet without weight and spin on their L maintaining CP
while using the man's rotary momentum. On count 3 (or slightly
before), the man places his L close to R and continues his RF spin on
the ball of the L while holding a high body line to end facing
approximately LOD. His R foot is held forward in line with his L
which is held behind. Ladies settle onto their R and hold their L in
line behind (also in CBMP) to match the man's line.
normal cue for an Off Beat Spin would take 6 counts but could
continue for 12 -- almost never carried beyond this. Sometimes it is
used alternately with a Natural Turn using the 6-count version.
Can be done both LF and RF. We will describe the Reverse Fleckerl
which is easier to do and is the one most often used. The Natural
Fleckerl is exactly opposite for all practical purposes, however, we
will point out a difference in the precedes. Most descriptions start
with the man turning 1/4 LF on his L heel, but the more modern
version uses a small step on this foot to start the rotation. We will
describe the latter version from the normal starting position where
the man is facing COH in CP.
the man turns his L outward with a small step on the ball of the foot
(nearly flat) then rises to start the LF rotation so that he ends
facing approximately RLOD. Ladies take a small step to the side on
their R as they start a LF rotary action while going from a ball of
foot to nearly flat. On step 2, the man swings his R around the lady
in a small circle going from the ball of the foot to nearly flat with
the ball of the R remaining in floor contact. This is a "planting"
step and serves as a pivot point for the continuation of the LF
rotary action, now facing approximately DLW. Ladies swing their L in
a small LF arc crossing in back of R. The ball of her R acts as the
pivot point as she lowers to nearly flat foot while transferring
weight to the ball of the L. On step 3 the man continues to make a
tight LF turn and allows his L to cross in front of the R (ball/flat)
not unlike the Reverse Turn except for the increased momentum. He
should end still in CP facing approximately back to COH. On this step
the lady allows her feet to uncross as she turns on the ball of the L
and transfers weight to the ball of the R with feet slightly apart.
point on, the man has the lady's part on steps 1 to 3 and vise versa.
At the end of the 6 steps, the man should be again facing COH (= 2
full turns). Most dancers opt to repeat the six-step figure at least
once more before going on to something else. The usual transition is
the quick Contra Check to go into a turn in the opposite direction.
right-turning or Natural Fleckerl is precisely opposite in technique
and footwork to the Reverse as both are normally taken with the man
facing COH. There is a different preparation, however, as the
previous figure (usually a standard turn) is overturned in order to
face COH for the reverse version and underturned to start the
only shaping (CBM) is on step 1 for the man and step 4 for the lady;
otherwise it is completely a rotary action. There is no rise and fall
in the normal sense in spite of the use of the flat foot because the
body is kept at full height during the entire figure. In developing
and practicing the Fleckerl, it is helpful to think of a small
diameter pole in between the partners where both must face each other
on every step.
Most of these are taken forward and backward, but there are several
variations that include leg lifts and directional turns. We will
describe the standard where the man faces DLW with a R foot free. On
step 1, he steps forward on the R heel to start a body rise as the
lady steps backward on her L (ball/heel). On step 2 the man closes L
to R while releasing the R heel with a slow rise while keeping weight
on his R. Ladies draw R to L while keeping weight on their L with a
slow rise also. Step 3 is the hesitation one where the man retains
weight on the ball of the R to lower at the end while starting to
move his L backward. Ladies do their hesitation using weight on the
ball of the L. On step 4 the man steps backward DRC on the ball of
the L, then lowers to the heel as the lady steps forward on the R
heel, then releases with a slight rise onto the ball of the R. Step 5
is a drawing action for the man (R to L) as he maintains weight on
his L with some body rise. Ladies close L to R while keeping weight
on the R and using some body rise. Ending on step 6 with a hesitation
for both, the man maintains weight on his L as the lady uses the ball
of the R where she lowers to the heel at the end and prepares to move
backward on her L.
Back Hesitations can be repeated, normally without any turns or
sometimes with a 1/8 to 1/4 turn to the right. The same figure can be
used with a L foot lead for the man where he usually starts facing
DLC and again, can be turned somewhat LF as a variation.
concludes our presentation of figures in depth, which has spanned
several years of Cue Sheet Magazine issues. Our intent was to
offer the nuances and considerations that are not found in the
literature or offered in dance clinics. We purposely left out rhythms
where we either could not qualify for complete coverage or where
there is adequate information available from the many sources at
column comes from a series published in Cue Sheet Magazine between
1987 and 1992, and is reprinted with permission. The full series is
collected in an 86-pg booklet, available for $30.00 plus postage.
E-mail Fran Kropf at firstname.lastname@example.org. This
article was published in the Dixie Round Dance Council (DRDC)
Newsletter, March 2014.